Periodicals
490.Beethoven Jahrbuch,1–, 1953–. Bonn: Beethoven Haus, 1953–. ML410 .B42
B763.
Continues Neues Beethoven Jahrbuch(1924–1942).
491.Beethoven Forum,1–, 1992–. Lincoln: U. of Nebraska Press, 1–, 1992–. Irreg-
ular. ISSN 1059–5031. ML410 .B42 B416.
V.5, 1996, has miscellaneous material on Fidelio. One item is at #502.Letters and Documents
492.The Letters of Beethoven. Ed. and trans. Emily Anderson. London: Macmil-
lan, 1961. 3v. ML410 .B4 A217.
Described by Solomon (#494) as “a model of elegant translation and succinct
annotation,” this is a well-documented text with perceptive commentary.
Index of works and list of the letters.- Johnson, Douglas, Robert S. Winter, and Alan Tyson. The Beethoven Sketch-
books: History, Reconstruction, Inventory. California Studies in 19th-Century
Music, 4. Berkeley and Los Angeles: U. of California Press; New York: Oxford
U.P., 1985. xx, 611p. ISBN 0-5200-4835-0. ML410 .B4 J66.
The definitive exploration of the numerous sketchbooks. Much Fideliomaterial
appears in the books known as Landsberg 9, Dessauer, and Mendelssohn 15.
Biographies
- Solomon, Maynard. Beethoven. 2nd ed. New York: Schirmer, 1998. xxii,
554p. ISBN 0-02-864717-3. ML410 .B4 S69.
First edition, 1977. The premier Beethoven biography and one of the most
readable biographies of any composer. Solomon combines a keen musical
approach with an accurate life story and penetrating psychological interpreta-
tion of the disturbed genius. He settles the doubts that have surrounded vari-
ous episodes, such as the “immortal beloved,” and the nephew, and indeed
seems to explain all that can be explained. Backnotes, p.431–518, valuable
bibliographic essay, p.486–518 (encompassing all previous writings), index of
works, expansive general index.
Individual Works
Fidelio
ASO10 (1977), COH (1996), ENOG 4 (1980), Rororo (1981).
- Dean, Winton. “Beethoven and Opera.” In Essays(#69), 123–163.
A valuable background study of Beethoven in Vienna and his operatic experi-
ences there: operas he knew and liked, his early attempts to set various libretti,
then to Fidelio. The 1805 premiere was a failure, but the 1814 revision was a
success. Sources of the libretto, comparison of the versions, influences.
112 Opera